Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Garzoncina
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Toccata
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Canzone seconda
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Vittoria
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Tegrimuccia
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Superba
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Franciotta
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Bonvisia
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Nicolina
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Bernardinia
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Capriola
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Ambitiosa
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Masotti
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Laltera
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Nobile
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Toccata
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Tromboncina
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Donatina
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Moricona
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Lipparella
Canzoni da sonare, Libro primo, 40 pieces for 1-4 instruments & continuo: Lucchesina
The title is an explicit reference to the performance practice of the time, which did not specify any instrument in particular for reading the score. Certainly, the publishers could not but take pleasure in the title be... more »ing addressed to such a large number of musicians, but there are other reasons that go beyond the promise of a larger market and greater profits. The publisher did not fail to insist on ample freedom in the choice of instruments in the interpretation of the various compositions notated together in score.« less
The title is an explicit reference to the performance practice of the time, which did not specify any instrument in particular for reading the score. Certainly, the publishers could not but take pleasure in the title being addressed to such a large number of musicians, but there are other reasons that go beyond the promise of a larger market and greater profits. The publisher did not fail to insist on ample freedom in the choice of instruments in the interpretation of the various compositions notated together in score.